That Lovin' Feelin'

Conceived and Written by James
A. Zimmerman

Musical
Arrangements by J. Michael Roy

Run Time: 1 hr 40 min

Cast Size: 3F, 5M, Flexible

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That Lovin’ Feelin’ is an exciting musical biography chronicling The Righteous Brothers’ life story, featuring 18 of their memorable songs. “Blue-eyed soul” pioneers Bill Medley and Bobby Hatfield topped the charts for decades, galvanizing the link between rock and rhythm ‘n’ blues. Featuring their greatest hits, such as “Unchained Melody,” “Old Time Rock and Roll,” and the most played song in radio history, “You’ve Lost That Lovin’ Feelin’,” this musical will undoubtedly have you tapping your toes and humming along to the musical hits that defined the “Baby Boomer” generation.

Synopsis

Act I

The play opens on the stage of the Miller Auditorium on the campus of Western Michigan University in Kalamazoo, Michigan in November of 2003. The Righteous Brothers ensemble are on stage completing a sound check for their performance later that evening. Hatfield is already back at the Radisson Hotel. The ensemble is in the middle of You’ve Lost That Lovin’ Feelin’. The number is interrupted by road manager Dusty Hanvey. The sound engineers are having trouble with the backup tracks and they’ll have to take a break and try the number later. He also reminds Medley of a scheduled interview with a college newspaper reporter. As the group leaves the stage, Ali Hanson, a student journalist at WMU, enters the stage and introduces herself. She and Medley retire to the greenroom area for the interview.

As the interview begins with Ali, a
true “Type A” personality, recording their conversation and taking notes, she
begins with a question that clearly surprises Medley. He suggests that “…to understand all that
happened, you really need to know the whole story.” Ali then retreats asking how it all began. As Medley begin sharing how he and Bobby
Hatfield first met and sang together, the scene shifts.

The new scene is of a young Bill and
Bobby (circa 1963) considering forming a new group. The two are clearly different personalities,
but as the scene progresses, they bond in a common love for R&B music. For fun they improvise their way through a
rendition of a number, (“B Flat Blues.”)
The bond and the group are formed.
Clearly Bobby and Bill have found a bond in their common “lovin’
feeling” for the music.

The scene shifts back to the
greenroom interview, with Medley continuing to share the happy beginnings of
Bill and Bobby’s relationship and how they got their first big break, which
shifts the scene to a performance at the Black Derby nightclub. The group is performing another R&B
number, (“My Babe.”) At the conclusion
of the number, midst the applause, a Black marine shouts, “Man, that was
righteous, brothers!” They take a break,
but remain on stage where Ray Maxwell, owner of Moonglow Records, introduces
himself and asks the group if they’d like to record for his studio. They agree and, amidst the group’s
celebration. The scene shifts back to
the Kalamazoo greenroom.

Ali again begins asking questions
that clearly indicate she’s looking for something more… the conflict that
existed later between Medley and Hatfield.
Bill quickly diverts the conversation back to happy memories, and the
scene shifts to The Righteous Brothers’ first recording session. They are recording what became the group’s
first big hit (“Little Latin Lupe Lu.”) At
the conclusion of the number, the group realizes they don’t have a name. Recalling the Black marine’s comment, they
decide on “The Righteous Brothers.”

The scene again shifts to the
interview, with Medley sharing that, even though the number eventually became a
hit, “Little Latin Lupe Lu” initially went nowhere. As Medley and Ali talk, the lighting in the
greenroom shifts and the young Bill and Bobby enter. We are now backstage at the Rendezvous
Ballroom (1963) before a performance with Patterson’s band.

The conversation is light and filled
with laughs, but as they converse we find out that there are 5,000 kids out
there and Bobby suffers from severe stage fright. He is at heart a very insecure person,
seeking to escape through humor, often inappropriate. We’re also introduced to Karen, a high school
friend of Bill. Karen will eventually
become Bill’s wife. The backstage
conversation ends with Bill and Bobby moving rapidly to the stage and a
performance of (“I’m So Lonely.”) The scene and performance concludes with
Patterson promoting The Righteous Brothers’ recording. As we return to the Kalamazoo greenroom, we
learn that Patterson’s efforts worked.
The record becomes a hit and the young Bill and Bobby go on tour. Reverse racism though will become a problem
for them.

As the scene again shifts, now to an
all Black LA nightclub, the young Bill and Bobby meet the club manager who is
surprised that they are White. He tells
them that “…from your music we thought you were…Black… and in about an hour there’ll
be about 300 Black folks in this hall… and trust me, they’re gonna be
pissed!” They’ll have to wait until the
end of the evening to go on. When they
do, initially greeted with boos, they eventually win over the all Black
audience with their performance of (“Georgia On My Mind.”)

Back in the 2003 interview we are
introduced to Jerry Perenchio, who will become their manager, and learn that
the next phase of The Righteous Brothers’ journey will take them on tour
opening for The Beatles’ first American tour.
Again, the Kalamazoo greenroom shifts into a dressing room backstage
before a Beatles concert, and a heated conversation between the young Bill and
Bobby. Bobby’s stage fright is affecting
their performances. Bill shares, “…yeah,
but, Bobby, you can’t leave me out there twisting in the wind like last
night.” The argument is interrupted by
Julie Stedham, who works for Perenchio.
As she pushes them toward the stage, we learn that The Righteous
Brothers are considering leaving the Beatles tour to host a new television
program, and as they enter the stage we hear the chants of “We want the
Beatles!” Over the noise they begin
singing (“Justine,”) cooling the crowd down.
During the instrumental break in the number, the scene shifts and the
number concludes, now in a television studio in the middle of a taping of
Shindig. Following the number the taping
stops, but the scene continues. We learn
that Bill has been seeing Darlene Love, a Black performer, and that he has begun
irritating Bobby with his “control freak” nature, making decisions for the group
without consulting Bobby. The balance of
the first act concludes as we are introduced to record producer Phil Spector,
who leases the remainder of The Righteous Brothers’ contract from Moonglow, and
we see the recording session for (“You’ve Lost That Lovin’ Feelin’.”)The
act concludes rapidly with an interview session promoting “That Lovin’ Feelin’”
where the young Bobby, again due to his nerves, insults the interviewer and,
due to Bill’s control issues, threatens to leave The Righteous Brothers saying,
“… I’m no groupie …I’m Bobby Hatfield, and the last time I looked we are The
Righteous BROTHERS!... No, make that we WERE The Righteous Brothers.” The final scene returns briefly to the
Kalamazoo interview where, over the top of the opening to (“What’d I Say,”) Medley, responding to an earlier
question responds, “We were great! Just
great!”

Act II

The act opens picking up immediately
following the end of act one. The band
is playing the opening to (“What’d I Say,”) and the senior Medley is
interrupted by Dusty calling him to the stage to conclude the sound check. Medley arrives in time to begin the vocals,
as Ali, frustrated with his evasions, packs up to leave the greenroom. During the number she moves to the stage on
her way out, but is stopped by Dusty and eventually Medley. We see, but do not hear, a heated discussion
as the number concludes.

Following the number, the band
leaves for the hotel with Ali and Medley remaining on stage. Ali tries to excuse herself gracefully, but
is eventually pushed to admitting her frustration, and the two conclude a
heated discussion. Medley decides to tell her the truth. While his answers to her in the first act
have been a historic white wash, from here on he will tell her the unvarnished
truth.

In subsequent scenes we see Phil
Spector’s true impact on Bill and Bobby, and the relationship between Bobby and
Bill steadily deteriorate, as Bill’s controlling nature and Bobby’s deprecating
“put down” humor steadily chip away at their relationship. Spector sets the two up to work with
songwriters Barry Mann and Cynthia Weil on “(You’re My) Soul and Inspiration”,
but Bobby blows up at Spector and Medley over being asked to speak (not sing)
the bridge of the number. Spector then
pulls the duo off the project to work with Carole King. But Bobby again offends an audience with his
stage fright driven comments during a performance of (“Let The Good Times Roll.”) At the same time Spector tries to entice
first Bill and then Bobby to sign with him to produce solos. As a result of trying to control Spector and
Hatfield, Bill’s voice and then his nerves become an issue in Las Vegas and,
following a Vegas performance of (“Dr. Rock and Roll,”) Frank Sinatra ends up
helping the duo. Though in spite of the
help, Bill suffers a nervous breakdown and is hospitalized.

Spector, despite protestations by
Jerry Perenchio and Bill, continues to undermine the duo with pressure to
record solo numbers, succeeding with a now totally frustrated Bobby producing
first (“Unchained Melody,”) and then (“Ebb Tide.”) Finally, when Joy Hatfield, Bobby’s wife,
calls Bill “…a babbling idiot,” Bill decides to break up saying, “I didn’t want
Darrin (his son) growing up hearing that his dad was a “babbling idiot.” We see their last show, six months after the
decision, on New Year’s Eve 1968 where they perform (“Koko Joe”) and (“Auld
Lang Syne.”)

The breakup hurts both their
careers, with Bobby failing with multiple new partners and finally
deteriorating into alcohol and drugs and destroying his health and his marriage
to Joy. While Bill attempting a solo
career does further damage to his voice.
Finally, David Cohen, a personal friend and new manager for Bill,
encourages Bill to go back to Bobby saying, “…go back to The Righteous
Brothers…Go back with Bobby, and try and make enough money so possibly you can
retire...Before you can’t sing at all.”
They reunite to record (“Rock and Roll Heaven.”) On tour Hatfield returns to his embarrassing
onstage antics during a performance of (“You’re My Soul and Inspiration,”) and
Medley’s had enough. Before they can
separate a second time, however, Karen, Bill’s ex-wife and mother of their child
Darren, is raped and murdered. Bill must
now leave the duo to take care of his child.
In a heated argument Hatfield challenges the decision, with Medley
storming off with, “Look, I can either raise Darrin or I can raise you!”

The separation again destroys
Hatfield, leaving him frail and defeated for years, and Medley retired as a
single father. But the Righteous
Brothers are not through yet. A final
partnering begins when the two are asked to reunite for a twenty-five year
reunion concert where they perform (“Old Time Rock and Roll”) and (“Dream On.”)
This, combined with The Righteous Brothers’ music used in the popular films Dirty Dancing, Top Gun, and finally Ghost
creates insatiable demand, forcing a final long-term connection between the two
estranged partners. This time though it
was going to be different, and in a meeting the two agree to terms that lay the
groundwork for their final decade long partnership as The Righteous
Brothers.

The greenroom conversation concludes
with a clearly unburdened Bill Medley and a grateful Ali. The two have warmed to each other throughout
the second act and now part friends, with Ali deciding to not write the article
to keep Bill’s comments private. Bill
has admitted to sharing things with her that he hasn’t shared with anybody –
“…not even Bobby.” Ali’s final exit line
being “Maybe you should.”

But the drama isn’t finished. Just as Ali exits Dusty and the band return
from the Radisson, telling Bill that his partner of forty years has been found
dead in his hotel room. Bill is crushed,
but sings, first a cappella and then with the rest joining in, a reprise of (“Rock
and Roll Heaven”) as a final tribute to Bobby, who, through Bill’s reflections,
returns to the stage a final time for one last number.

Pianist -
Also performs various pianists who played with The Righteous Brothers throughout
their career (Tim Lee, John Wimber, Mike Patterson)

Drums

Guitar -
Also performs the role of Dusty Hanvey.

Bass

Keyboard
(on selected numbers) - Performed by Actress #1 and Actor #1

Setting: The story takes place on (and
backstage) at the Miller Auditorium, Western Michigan University, and various
locations at which The Righteous Brothers performed.

James A. Zimmerman graduated from Dickinson State University in ND with bachelor’s degrees in Music and Theatre. He earned a Master of Fine Arts degree from Southern Illinois University in Acting and Directing. After receiving his graduate degree, he founded Dakota Stage Ltd., a nonprofit resident theater.

In 1980 Zimmerman accepted a teaching position within the Theatre Department of North Dakota State University, and in 1984 he accepted a faculty position at the University of Wisconsin–River Falls, where he recently retired and holds the rank of Professor Emeritus in Theatre Arts. In 2000 he founded Off Broadway Dinner Theatres, Inc., with its first theatre in Jacksonport, WI.

In 2006 he moved the operation to Hudson, WI. Known as St. Croix Off Broadway Dinner Theatre, it has produced a variety of plays authored by Zimmerman. Most recently, That Lovin’ Feelin’ holds box office records for attendance with patrons attending from as far away as California, and many patrons attending two to four times.

J. Michael Roy received his Bachelor and Master of
Music degrees from the University of Missouri - Kansas City, Conservatory of
Music and has worked on a DMA degree in Percussion Performance at the
University of Iowa. He has over 35 years
experience as a symphonic percussionist, composer, recitalist, and
clinician. Roy has worked as a
free-lance percussionist in the Twin Cities area where he has performed with
nearly every large musical organization including the Minnesota and Plymouth Orchestras
and the Minnesota Opera. He also has
composed and arranged over 80 works for percussion.

His
work in the area of musical theatre is extensive, having composed and arranged
for a variety of new musicals, including That
Lovin’ Feelin’,which Roy
collaborated with playwright/producer James A. Zimmerman. From 1973-1980 Roy taught theory, percussion,
and piano at the West Virginia Institute of Technology. He recently retired as a Professor of Theory,
Composition, and related courses at the University of Wisconsin - River Falls.

Performance Royalties are
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Billing
responsibilities, pertinent copyright information, and playwrights' biographies
are available in the show rider that comes with your license agreement. To
download the show rider for That Lovin’ Feelin’ click here.

"A compelling and riveting bio-play. It is a celebration of the music of the ‘60s and an introspective of the anguished moments that some great artists sometimes face.” –ReviewPlays.com

"Outstanding! Each and every song is spectacular… classic and memorable.” –NoHo Arts District

"That Lovin’ Feelin’ is one the most entertaining musical biographies I have seen in a long time—This is something the whole family will enjoy and if you were not a fan of their music before—you will be after this play!” –The Geek Authority

"The interesting and dramatic back story of this talented duo is given a righteous treatment in this musical." –Culture Spot LA

"[This] jukebox musical plays like a love song to the Righteous Brothers. Rousing stuff that will set toes tapping!" –LA Times

"Musically That Lovin’ Feelin’ is right on target. Enjoy!” –Grigware Talks Theatre

Materials: your materials
will be sent to you two months prior to your opening date and will include
everything necessary for your production and can be ordered in Printed or
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That Lovin' Feelin'

PDF Perusal Script of THAT LOVIN’ FEELIN’. Download instantly in the "My Products" or “My Perusals” section of your account. Not intended for production purposes.

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Manuscript PDF of THAT LOVIN’ FEELIN’, score sampler with selections from the score, and a reference recording (if available). Download instantly in the "My Products" or “My Perusals” section of your account. Not intended for production purposes.

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A beautifully-bound edition of THAT LOVIN’ FEELIN’ shipped within 3 business days of purchase. Not intended for production purposes.

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Printed manuscript of THAT LOVIN’ FEELIN’, score sampler with selections from the score, and a reference recording (if available). Printed on three-hole-punched paper; reference recordings on CD. Shipped within 3 business days. Not intended for production purposes.

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PDF Perusal Script of THAT LOVIN’ FEELIN’. Download instantly in the "My Products" or “My Perusals” section of your account. Not intended for production purposes.

$7.00

Manuscript PDF of THAT LOVIN’ FEELIN’, score sampler with selections from the score, and a reference recording (if available). Download instantly in the "My Products" or “My Perusals” section of your account. Not intended for production purposes.

$20.00

A beautifully-bound edition of THAT LOVIN’ FEELIN’ shipped within 3 business days of purchase. Not intended for production purposes.

$9.95

Printed manuscript of THAT LOVIN’ FEELIN’, score sampler with selections from the score, and a reference recording (if available). Printed on three-hole-punched paper; reference recordings on CD. Shipped within 3 business days. Not intended for production purposes.